Native Stargazer

Sarah Rosalena (Wixárika)
Compass Star Series In All Directions
Smoked Stoneware
In this series, Sarah Rosalena (Wixárika) reimagines the compass star as a multidirectional system—one that resists fixed orientation and unsettles colonial grids of space and measurement.

Gunga, 2022 Earth pigments on stringybark by Muluymuluy Wirrpanda (Yolŋu) Painted with natural earth pigments on stringybark, Gunga carries the intricate linework and sacred patterning central to Yolŋu visual language. The rhythmic cross-hatching and flowing forms incorporates ancestral knowledge.

Kungkarangkalpa (Seven Sisters) by Janice Stanley is third-generation artist from the Stanley family of Ernabella in the APY Lands, Janice paints the salt lakes (Pantu in Pitjantjatjara) near Attila (Mt Connor), close to the Northern Territory border.

Pencil Yam Seed by Eileen Bird Kngwarreye (Utopia). Eileen paints the seeds (kame) of the Arlatyeye, her country’s pencil yam. In Dreaming there are two yam species; the Arlatyeye belongs to Eileen’s land, its small tubular roots and trailing green vines sustaining both body and story.

Stars over Ce:dagi Wahia, 2022 by Thomas “Breeze” Marcus (Tohono O’odham)

A stunning nightscape grounded in Tohono O’odham homelands, Stars over Ce:dagi Wahia weaves geometry, land, and sky into a contemplative vision of place.

Lupe Huinahā II (Four-Sided Kite)create by Lehua Uakea (Native Hawaiian) uses earth pigments, hibiscus branches and cordage, and kapa (barkcloth) to create this four-sided kite using ʻike (ancestral knowledge) meet.

Roen Hufford (Hawaiian) Roen's kapa are inspired by the stars, sea mountains, and legends of Hawaii. Kapa is a sacred Hawaiian art form made from wauke (paper mulberry), transformed through cultivation, beating, and adornment into cloth used for ceremony, clothing, and storytelling.

YARUNG-BAH (Place of Sand) by Goompi Ugerabah is rooted in Country, memory, and ancestral knowledge, Yarung-bah unfolds as a living map of place. Through layered dotting, concentric forms, and shifting patterns, Goompi Ugerabah evokes sand, water, and movement.

Undulated Gun Metal Gray Jar by Lonnie Vigil (2009) made from gray hand-coiled micaceous clay. A striking contemporary vessel shaped coil made from clay sourced at Nambé Oweenge Pueblo, New Mexico.

Is the Galaxy Already Connected? Why the “Galactic Internet” Might Be Hiding in the Dark – LaserSETI LaserSETI

Maybe the galaxy isn’t silent. Maybe it’s just whispering on a private network we haven’t plugged into yet.

And the most exciting part? We might have the technology to spot the blinking lights of their routers right now. 🧪 🔭

Learn more: laserseti.net/is-the-galax...

Wood, metal, and glass are just a few of the materials Kahi Ching works with, shaping each piece through intuition, skill, and decades of experience. Every sculpture carries its own presence and purpose.

Wild Flowers and Bush Medicine Leaves
Gloria Petyarre is celebrated Anmatyerre artist from Utopia, Gloria Petyarre is renowned for her iconic Bush Medicine Leaf paintings, rhythmic, sweeping compositions that evoke leaves carried by wind and the healing power of native plants.

Star Rose, Rose Star by Sarah Rosalena (Wixárika) Bridging ancestral craft and emerging technology, Sarah Rosalena’s work weaves together digital Jacquard processes, beadwork, and 3D-printed ceramics. This was on view at Sargent’s Daughters in early 2025.

Woven Mat (Nganiyal) by Mary Malibirr Matjandatja
Traditionally used as both an insect screen and a sitting mat, Nganiyal hold an important place in daily life and Ceremony. Woven with natural fibres, this work reflects the balance of function, form, and cultural knowledge.

Bush Hen / Bush Medicine Dreaming by Abie Loy Kemarre (Utopia). She is an Eastern Anmatyerre artist from Mosquito Bore, Utopia, Abie Loy Kemarre carries a powerful lineage of women artists, including her grandmother Kathleen Petyarre and aunt Gloria Petyarre.

Lupe Hīhīmanu (Manta Ray Kite) by Lupe Hīhīmanu (Kanaka ʻŌiwi). She uses earth pigments, hibiscus cordage, bamboo, and kapa (barkcloth) in this striking manta ray–shaped kite. Rooted in Hawaiian ʻike (knowledge), the work reflects movement, balance, and a deep relationship to wind, ocean, and sky.

Black Engagement Basket by Mary Singer, Santa Clara Pueblo
is a powerful expression of tradition and craftsmanship, this blackware engagement basket features sculptural pierced forms and carved lightning motifs—symbols of life, protection, and continuity.

Bush Medicine Leaves by Jacinda Hayes
(Anmatyerre/Alyawarre) is an artist and granddaughter of the renowned Margaret Scobie. This work depicts bush medicine leaves laid out to dry in the sun, an essential practice where leaves are later ground and mixed with animal fats to release healing oils.

Eric-Paul Riege (Dine) create this striking woven piece from wool and guided by Diné philosophy, this sculptural work embodies Hózhó—beauty, balance, and harmony in all things. Riege’s practice bridges sculpture, wearable art, and performance, inviting touch, movement, and shared presence.

Convergence is a dynamic interplay of abstraction and form, Convergence explores movement, tension, and balance through layered shapes and expressive mark-making. Rooted in Diné (Navajo) creation stories and influenced by Modernism and Cubism.

Bush Seed by the celebrated Anmatyerre artist Abie Loy Kemarre. This vibrant work reflects ancestral stories from the Utopia region of Central Australia, expressed through intricate lines and rhythmic patterning that create movement and energy across the surface.

In Wire Coil 03 (2016), coiling becomes both structure and story. Emerging from the collaborative practice of Aranda\Lasch and Terrol Dew Johnson (Tohono O’odham), this sculptural form draws on an ancient weaving ritual.

A powerful Aumakua sculpture by Sean Kekamakupaʻaikapono Kaʻonohiokulani Lee Loy Browne. In Hawaiian culture, ʻaumākua are ancestral guardian spirits—embodiments of loved ones who have passed, offering protection, guidance, and connection across generations.

This elegant fine-line pot is the work of Juana Lewis (Juana Leno, 1917–2000), one of Acoma Pueblo’s most accomplished 20th-century potters and a revered matriarch of her community.

A striking work rich with movement and ancestral mapping, this piece layers fine, rhythmic dotting with bold red pathways to evoke storylines held in the landscape. A powerful composition that balances subtle detail with strong visual rhythm.

A stunning work by Abie Loy Kemarre, an acclaimed mid-career artist from Utopia in the Northern Territory, Australia. Mentored by her grandmother Kathleen Petyarre, Abie developed a refined technique of intricate, shimmering mark-making that creates vivid movement across the canvas.

“Mana Māhū” (2020) by Lehuauakea (Kanaka Maoli/Native Hawaiian) a kapa maker from Pāpaʻikou, Hawaiʻi. Created with earth pigments and plant dyes on hand-made kapa, this piece reflects their commitment to revitalizing traditional practices such as ʻohe kāpala, natural dye work, and kapa beating.

A beautiful vintage hand-coiled pot by Caroline Lucero-Carpio (Isleta Pueblo), featuring finely incised rim work and turquoise heishi inlay. Caroline has worked for over 40 years, creating pottery and sculpture inspired by her Pueblo heritage, the land, and the strength of Indigenous traditions.

Barbara Weir (1940–2023) | Alyawarre/Anmatyerr | Utopia, NT
This work by Barbara Weir reflects her connection to Alyawarre and Anmatyerr Country, shaped by both cultural strength and personal resilience.

This striking soapstone carving by Cadaha Wenoda embodies the strength and protection of the Iroquois False Face Society. Rooted in the teachings of the Six Nations Confederacy, False Face figures are revered as Guardians, keepers who ward off harmful spirits and offer healing and protection.